Very nice indeed! Sounds like Brazilian Ragtime?! Great sense of style and rhythmic vitality to music.

BTW, Alexandre, I haven't forgot about the music. Honestly, the music has been sitting on my desk as I've been deciding on a new scanner. Well, I finally bought one. So hopefully, it will have been worth the wait.

George

_________________"Nobility of spirit has more to do with simplicity than ostentation, wisdom rather than wealth, commitment rather than ambition." ~Riccardo Muti

Hi George, thanks for the comments. Glad you like it. Yes, it's kinda like Brazilian ragtime. Nazareth is often compared to Joplin. They're sort of analogs, keeping in mind all the rythmic differences, of course (Nazareth has a lot of syncopation on the left hand).

Great! I'll be waiting for the score, it will certainly be worthwhile.

Today I've recorded Nazareth's Tango-Habanera, which has never been recorded commercially. The Cuban habanera is one of the founding rythms of Brazilian music (added to the influnces of the European polka and the African lundu).

It's a fun piece to play, hope you like it. With this one we're now with 29% of Nazareth's music on the site.

Hey Chris, thanks for the comment heehehe Glad you like my performance. (sorry for the delay, I jsut got back from a trip)

About changing airs, I have never told you this, but after you posted the Kapustin recordings (starting with the one from your teacher), I fell in love with his music. I acquired as many recordings by him as I could, and leanerd his first concert étude Op.40. Shortly afterwards I played it here in Brasília, and I'm sure this was the first time any of his music was played here.

I made a private recording of the piece by then, but I never got satisfyed enough to share at PS. However, here it is, so that we may have a slight change in composers . There's no need to post it on the site, you can leave it here on this post.

So you had the Kapustin brainwave as well Indeed he is an addictive composer. I've had some periods when I played little else (but right now ole Bach has re-asserted his iron grip on me). What a shame that Kapustin's pieces are so insanely difficult. I'm secretly pleased that you have some choppy moments here too - though not as many as I did. A pity that your recording hasn't the greatest of sounds (an upright ?) because it's a good performance - certainly better than my soggy account - which could well go on the site.So are you working on any other Kapustin ?

>though not as many as I did. A pity that your recording hasn't the greatest of sounds (an upright ?) because it's a >good performance - certainly better than my soggy account - which could well go on the site.Yes, a Kawai upright (kx 21). It can sound better on recording. I had recently acquired it, and was less familiar with its sound. The acoustics on my living rooms also don't help.

>So are you working on any other Kapustin ?Not at the moment, although I'd love to play his toccatina, his concert études Op.40 No.3 'toccata', no.5 'Raillery', no.6 'pastorale', no.7 'intermezzo', his 2nd Sonata, and the last two preludes op.53.

After many months I've resumed recording Nazareth rare pieces. This is the 65th, and it has never been recorded in any medium. It's the quadrille "Chile-Brasil", and, as it is usual for quadrilles, it has 5 parts.

Not Nazareths most inspired work, and probably a bit long for its content. But entertaining and infectiously played. I keep wondering how your recordings would sound on a real grand, and whether they would acquire some extra depth and sonority.This one is on the site. Keep up the good work !

Yes, but forgot to listen do it Just did that now. Wow, that sounds a lot nicer ! They could have added a bit more sonority and maybe reverb.The additional thumping sounds (I suppose it's the dampers) irritate a bit in places.

P.S. Hello Chris or Monica, could you please delete the Phantastica waltz I uploaded in this thread a couple of messages ago? It's been one week I don't want to make it available because it's a commercial recording.

"Está Chumbado" is up and very appropriate as I sip some fine merlot and listen to this nice 'drinking tune' - haha. But can you please check the link? My son is downloading something right now and so the Internet connection on my computer is extremely slow. I have also removed your "Fantastica Waltz". Cheers!

Oh and btw - this sounded very nice, as usual!

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

I've recorded the 68th rare Nazareth: a Brazilian tango called Jangadeiro ("Raft Man"). It has only been recorded in 1928 by a Brazilian orchestra and in 2002 by the American pianist Fred Sturm. We now have 31% of Nazareth's works on PS.

Nice pacing of the tango. Was fun to listen to, it reminded me a bit of Gottschalk.

The Fox Trot was a delight to hear. These pieces might be a lot of fun to try in my special needs classroom with percussion accompaniments. Ernesto Nazareth has wit and whimsy. Your fox trot has nice timing and beautiful melodic phrasing. I love the shift in the middle. It sounds a bit like ragtime and you play it so well!

I haven't had a chance to hear the other pieces yet, but i'm looking forward to it.

Today I've recorded the 69th rare Nazareth: his Brazilian tango "Tupynambá", an implicit hommage to his fellow composer Marcello Tupynambá. Incidentally, both were regarded by Milhaud as Brazil's greatest composers, and were quoted in his ballet Le Boeuf sur le Toit.

I'm glad you like Nazareth's foxtrot! I actually recorded three: "If I'm not Mistaken", "Nove de Maio" (May 9th) and "Delightfulness". He has one other as well "Até que Enfim" (At last). You can find all his scores here for free, reviewed by me: www.ernestonazareth.com.br

I think it would be great if you took his music to your special needs classroom with percussion accompaniments.

A very charming piece indeed. It is up on the site. And for the first time ever in a recording of yours I could find something to nag about... At 4:15 -4:18 the hands are not exactly together. Don't worry, I won't make you re-record it

Thanks for commenting. I'm thinking about what you've said. I think you've misinterpreted the written music for an error of my part. That part is syncopated, as it is very usual in his phrase endings. Could you check the score, just for my curiosity?http://www.ernestonazareth.com.br/pdfs/tupinamba.pdf

Thanks for commenting. I'm thinking about what you've said. I think you've misinterpreted the written music for an error of my part. That part is syncopated, as it is very usual in his phrase endings. Could you check the score, just for my curiosity?

I've listened again with score. What I referred to happens at 4:45 and 4:47, where the hands don't come down exactly together. But this is nitpicking of the highest order or course (those extremely tiny nits are real hard to pick )

I'm a bit puzzled by the huge pauses you take in bar 8 and similar places. Though it sounds very good and natural I must admit.

Hello Chris, I'm sorry for the delay in answering to your message (I didn't get the e-mail telling me that there was a post in this thread, as it usually happens).

Ah, I imagined you'd be referring to that part. I played the hands slightly out of phase on purpose, to sing the melody in the left hand, altough I recognize it didn't turn out to sound very natural.

Yes, I take many liberties in the agogics/phrasing of this piece, which I only do having in mind everything that I've studied and heard of Nazareth so far. This specific piece cannot be played a tempo throughly. It's piece to be sort of "recited".

Today I've recorded a new Nazareth: Desengonçado (difficult to translate. It refers to a person with discoordinated movements). It's one of his hidden gems, and quite challenging as well.

A nice and chirpy piece ! Impeccably played as usual. I find the digital sound of the highest notes a bit irritating here. Luckily they're only a few I'd take Nazareth over Joplin any time. At least to my ears, his compositions have far more flair, variety, and joie de vivre than those of Joplin which I find often a bit plodding and four-square (though he wrote some nice things too).This one is on the site.

Excellent recording and execution, as always. I have heard this piece played by Olinda Alessandrini. She does it a notch faster and a bit more "portato" at certain parts, but yours, while offering a different interpretation, is certainly of very high quality. Congratulations!

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